in which he is superior to every other artist of the profession,the happy transition from one passion to another. No dramatic poet better knows to prepare his incidents than he: the audience are pleased in those intervals of passion with the delicate, the simple harmony, if I may so express it, in which the parts are all thrown into fugues, or often are barely unison. His melodies also, where no passion is expressed, give equal pleasure from this delicate simplicity: and I need only instance that song in the Serva Padrona, which begins, Lo conosco a quegl' occelli,' as one of the finest instances of excellence in the duo.

The Italian artists in general have followed his manner, yet seem fond of embellishing the delicate simplicity of the original. Their style in music seems somewhat to resemble that of Seneca in writing, where there are some beautiful starts of thought; but the whole is filled with studied elegance and unaffecting affectation.

Lully in France first attempted the improvement of their music, which in general resembled that of our old solemn chants in churches. It is worthy of remark, in general, that the music in every country is solemn in proportion as the inhabitants are merry; or, in other words, the merriest sprightliest nations are remarked for having the slowest music; and those whose character it is to be melancholy, are pleased with the most brisk and airy movements. Thus in France, Poland, Ireland, and Switzerland, the national music is slow, melancholy, and solemn; in Italy, England, Spain, and Germany, it is faster, proportionally as the people are grave. Lully only changed a bad manner, which he found, for a bad one of his own. His drowsy pieces are played still to the most sprightly audience that can be conceived; and even though Rameau, who is at once a musician and a philosopher, has shown, both by precept and example, what improvements French music may still admit of, yet his countrymen seem little convinced by his reasonings; and the Pont-Neuf taste, as it is called, still prevails in their best performances.

The English school was first planned by Purcel: he attempted to unite the Italian manner, that prevailed in his time, with the ancient Celtic carol and the Scottish ballad, which probably had also its origin in Italy; for some of the best Scottish ballads,— 'The Broom of Cowdenknows,' for instance,-are still ascribed to David Rizzio. But be that as it will, his manner was something peculiar to the English; and he might have continued as head of the English school, had not his merits been entirely eclipsed by Handel. Handel, though originally a German, yet adopted the English manner: he had long laboured to please by Italian composition, but without success; and though his English

oratorios are accounted inimitable, yet his Italian operas are fallen into oblivion. Pergolese excelled in passionate simplicity: Lully was remarkable for creating a new species of music, where all is elegant, but nothing passionate or sublime. Handel's true characteristic is sublimity; he has employed all the variety of sounds and parts in all his pieces: the performances of the rest may be pleasing, though executed by few performers: his require the full band. The attention is awakened, the soul is roused up at his pieces; but distinct passion is seldom expressed. In this particular he has seldom found success; he has been obliged, in order to express passion, to imitate words by sounds, which, though it gives the pleasure which imitation always produces, yet it fails of exciting those lasting affections which it is in the power of sounds to produce. In a word, no man ever understood harmony so well as he; but in melody he has been exceeded by several.

The following Objections, by an anonymous Correspondent, were addressed to the Editor of the British Magazine, in which the preceding Essay appeared. Dr Smollett, before printing it, sent the communication to Goldsmith, who answered the objector in the notes annexed. PERMIT me to object against some things advanced in the paper on the subject of The different Schools of Music.' The author of this article seems too hasty in degrading the harmonious* Purcel, from the head of the English school, to erect in his room a foreigner (Handel), who has not yet formed any school. The gentleman, when he comes to communicate

Had the Objector said melodious Purcel, it had testified at least a greater acquaintance with music, and Purcel's peculiar excellence. Purcel in melody is frequently great: his song made in his last sickness, called Rosy Bowers, is a fine instance of this; but in harmony he is far short of the meanest of our modern composers, his fullest harmonies being exceedingly simple. His opera of Prince Arthur, the words of which were Dryden's, is reckoned his finest piece. But what is that in point of harmony, to what we every day hear from modern masters? In short, with respect to genius, Purcel had a fine one: he greatly improved an art but little known in England before his time; for this he deserves our applause; but the present prevailing taste in music is very different from what he left it, and who was the improver since his time, we shall see by and by.

† Handel may be said as justly as any man, not Pergolese excepted, to have founded a new school of music. When he first came into England his music was entirely Italian: he composed for the opera; and though even then his pieces were liked, yet

his thoughts upon the different schools of painting, may as well place Rubens at the head of the English painters, because he left some monuments of his art in England. He says that Handel, though originally a German (as most certainly he was, and continued so to his last breath), yet adopted the English manner. Yes, to be sure, just as much as Rubens the painter did. Your correspondent, in the course of his discoveries, tells us, besides, that some of the best Scottish ballads, The

did they not meet with universal approbation. In those he has too servilely imitated the modern vitiated Italian taste, by placing what foreigners call the point d'orgue too closely and injudiciously. But in his oratorios, he is perfectly an original genius. In these, by steering between the manners of Italy and England, he has struck out new harmonies, and formed a species of music different from all others. He has left some excellent and eminent scholars, particularly Worgan and Smith, who compose nearly in his manner, a manner as different from Purcel's as from that of modern Italy. Consequently Handel may be placed at the head of the English school.

**The Objector will not have Handel's school to be called an English school, because he was a German. Handel, in a great measure, found in England those essential differences which characterize his music: we have already shown that he had them not upon his arrival. Had Rubens come over to England but moderately skilled in his art; had he learned here all his excellency in colouring and correctness of designing; had he left several scholars excellent in his manner behind him; I should not scruple to call the school erected by him the English school of painting. Not the country in which a man is born, but his peculiar style either in painting or in music, constitutes him of this or that school. Thus Champagne, who painted in the manner of the French school, is always placed among the painters of that school, though he was born in Flanders, and should, consequently, by the Objector's rule, be placed among the Flemish painters. Kneller is placed in the German school and Ostade in the Dutch, though born in the same city. Primatice, who may be truly said to have founded the Roman school, was born in Bologna; though, if his country was to determine his school, he should have been placed in the Lombard. There might several other instances be produced; but these it is hoped will be sufficient to prove that Handel, though a German, may be placed at the head of the English school.

† Handel was originally a German; but by a long continuance in England, he might have been looked upon as naturalized to the country. I do not pretend to be a fine writer: however, if the gentleman dislikes the expression (although he must be convinced it is a common one), I wish it were mended.

Broom of Cowdenknows,' for instance, are still ascribed to David Rizzio.* This Rizzio must have been a most original genius, or have possessed extraordinary imitative powers, to have come, so advanced in life as he did, from Italy, and strike so far out of the common road of his own country's music.

A mere fiddler,† a shallow coxcomb, a giddy, insolent, worthless fellow, to compose such pieces, as nothing but genuine sensibility of mind, and an exquisite feeling of those passions which animate only the finest souls could dictate; and in a manner, too, so extravagantly distant from that to which he had all his life been accustomed! It is impossible. He might indeed have had presumption enough to add some flourishes to a few

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*I said that they were ascribed to David Rizzio. That they are, the Objector need only look into Mr Oswald's Collection of Scottish Tunes, and he will there find not only The Broom of Cowdenknows,' but also The Black Eagle,' and several other of the best Scottish tunes, ascribed to him. Though this might be a sufficient answer, yet I must be permitted to go farther, to tell the Objector the opinion of our best modern musicians in this particular. It is the opinion of the melodious Geminiani, that we have in the dominions of Great Britain no original music except the Irish; the Scottish and English being originally borrowed from the Italians. And that his opinion in this respect is just (for I would not be swayed merely by authorities), it is very reasonable to suppose, first, from the conformity between the Scottish and ancient Italian music. They who compare the old French vaudevilles, brought from Italy by Rinuccini, with those pieces ascribed to David Rizzio, who was pretty nearly contemporary with him, will find a strong resemblance, notwithstanding the opposite characters of the two nations which have preserved those pieces. When I would have them compared, I mean I would have their basses compared, by which the similitude may be most exactly seen. Secondly, it is reasonable from the ancient music of the Scottish, which is still preserved in the Highlands, and which bears no resemblance at all to the music of the Low country. The Highland tunes are sung to Irish words, and flow entirely in the Irish manner. On the other hand, the Lowland music is always sung to English words.

David Rizzio was neither a mere fiddler, nor a shallow coxcomb, nor a worthless fellow, nor a stranger in Scotland. He had indeed been brought over from Piedmont, to be put at the head of a band of music, by King James V., one of the most elegant princes of his time, an exquisite judge of music, as well as of poetry, architecture, and all the fine arts. Rizzio, at the time of his death, had been above twenty years in Scotland; he was secretary to the Queen, and, at the same time, an agent from the Pope; so that he could not be so obscure as he has been represented.

favourite airs, like a cobbler of old plays when he takes it upon him to mend Shakspeare. So far he might go; but farther it is impossible for any one to believe, that has but just ear enough to distinguish between the Italian and Scottish music, and is disposed to consider the subject with the least degree of attention. S. R.

March 18, 1760.

ESSAY XIV.

SCOTTISH MARRIAGES.

As I see you are fond of gallantry, and seem willing to set young people together as soon as you ean, I cannot help lending my assistance to your endeavours, as I am greatly concerned in the attempt. You must know, sir, that I am landlady of one of the most noted inns on the road to Scotland, and have seldom less than eight or ten couples a-week, who go down rapturous lovers, and return man and wife.

If there be in this world an agreeable situation, it must be that in which a young couple find themselves, when just let loose from confinement, and whirling off to the land of promise. When the post-chaise is driving off, and the blinds are drawn up, sure nothing can equal it. And yet, I do not know how, what with the fears of being pursued, or the wishes for greater happiness, not one of my customers but seems gloomy and out of temper. The gentlemen are all sullen, and the ladies discontented.

But if it be so going down, how is it with them coming back? Having been for a fortnight together, they are then mighty good company to be sure! It is then the young lady's indiscretion stares her in the face, and the gentleman himself finds that much is to be done before the money comes in.

For my own part, sir, I was married in the usual way; all my friends were at the wedding; and I do not find that it any ways diminished my happiness with my husband, while, poor man! he continued with me. For my part, I am entirely for doing things in the old family way; I hate your new-fashioned manners, and never loved an outlandish marriage in my life.

As I have had numbers call at my house, you may be sure I was not idle in inquiring who they were, and how they did in the world after they left me. I cannot say that I ever heard much good come of them: and of a history of twenty-five that I noted down in my ledger, I do not know a single couple that would not have been full as happy if they had gone the plain way to work, and asked the consent of their parents. To convince you of it, I